Bass bar for stringed musical instrument



Dec. 26, 1961 A. SZYMANSKI 3,014,394

BASS BAR FOR STRINGED MUSICAL INSTRUMENT Filed Aug. 21, 1959 ADAM SZYMAN$K1,

INVENTOR ATTORNEYS United States Patent Ofifice 3,014,394 Patented Dec. 26, 1961 3,014,394 BASS BAR FOR STRINGED MUSICAL INSTRUMENT Adam Szymanski, 4755 Lakeview Ave. S., St. Petersburg, Fla. Filed Aug. 21, 1959, Ser. No. 835,244 Claims. (Cl. 84-276) This invention relates to improvements in a bass bar for a stringed musical instrument of the viol class, such as a violin, so as to produce smooth tonal qualities when the stringed musical instrument is played.

A violin of conventional form includes a sound box which may be described as having upper and lower bouts. The upper bout having a longer length and a smaller width than the lower bout demands a faster tone travel as compared to the lower bout which is more responsive to vibration and thus requires slower tone travel. To produce smooth tonal qualities in the violin, the ultimate goal in constructing the violin is to provide for the tones from the upper and lower bouts to meet simultaneously at the scroll-like sound holes or f holes and thereafter to merge as they pass through the sound holes for leaving the sound box of the violin as a single undistorted tone. This goal is diflicult to attain because of the acoustical problems raised by the somewhat unusual form of the sound box of a conventional violin.

Painstaking craftsmanship on the part of old masters, such as Stradivarius, achieved remarkable tonal qualities in violins, gaining for these persons immortal reverence by lovers of music. However, in the period up to and including 1873, the higher or upper range from fifth to tenth position on the violin was seldom used, this upper range being employed almost exclusively by virtuosos or soloists. Since 1873, two factors in the playing of a violin have emerged. First, the upper range of the violin which requires a powerful tone to be effective came to vogue, as more and more musical compositions demanded that the violin be played in its upper range. Secondly, larger orchestrations relying upon increasing numbers of woodwind and brass instruments became popular. The combination of these two factors placed increasing emphasis on forceful and powerful playing of the violin in its upper range. Today, a violinist when performing with a heavy orchestration must play his violin forcefully in its upper range sometimes giving rise to a disastrous tonal collapse. Even in violins hand-crafted by the old masters, the new and stringent demands of maintaining the tonal quality of the violin when it is played with power in its upper range have not been met with the consequent result of tonal collapse of the violin in its upper range. Attempts of all types to surmount this two-pronged problem for producing smooth tonal qualities throughout the range of the violin have fallen short. Such attempts have included the utilization of bass bars having varying shapes in violins. However, these attempts have proved to be unsatisfactory, the violins produced thereby having discordant tonal qualities at one or more points in the range or scale of tones produced from the violins.

It is anobject of the present invention to provide an improved bass bar in a stringed musical instrument of the viol class, wherein the tone travel through the upper and lower bouts of the sound box for the stringed musical instrument is correlated to arrived at the sound holes simultaneously so as to produce undistorted tonal qualities for the stringed musical instrument throughout its range of tones.

It is another object of this invention to provide an improved bass bar fora stringed musical instrument of the viol class, the bass bar comprising an elongated beam having an upper surface conforming to the internal surface of the belly member for the sound box of the stringed musical instrument and attached thereto, and a protuberance medially located on the beam beneath the left foot of the bridge of the instrument, the protuberance providing a region of increased thickness in depth along the longitudinal extent of the beam, the greater portion of which is disposed in the lower bout of the instrument, to produce improved tonal qualities in the stringed musical instrument when played forcefully in its upper range.

Some of the objects of the invention having been stated, other objects will appear as the description proceeds, when taken in connection with the accompanying drawings, in which- FIGURE 1 is a top plan view of the sound box for a stringed musical instrument of the viol class, such as a violin, showing the improved bass bar embodying the present invention in broken lines for purposes of clarity;

FIGURE 2 is a longitudinal vertical sectional view taken substantially along the line 22 in FIGURE 1;

FIGURE 3 is an enlarged perspective view of the improved bass bar as it appears prior to being finished;

FIGURE 4 is an enlarged perspective view of the improved bass bar as it appears in its finished state; and

FIGURE 5 is an enlarged fragmentary transverse vertical sectional view taken along the line 55 in FIG- URE 2.

Referring more specifically to the drawings, the reference numeral 10 designates the sound box or shell of a stringed musical instrument of the viol, such as a violin. The sound box 10 comprises an upper belly member or sound board 11, a back member 12 and a side wall 13 connecting the belly member 11 and the back member 12. At a medial location atop the bally member 11, there is a bridge 14. As shown in FIGURE 5, the bridge 14 is mounted on the belly member 11 by means of a pair of spaced apart feet, there being a left foot L and a right foot R respectively secured to the external surface of the belly member 11. An imaginary vertical plane including the entire width of the bridge 14 divides the sound box 10 into upper and lower bouts 15, 16 respectively.

It will be observed that the usual scroll-like sound holes or f holes 17 which are formed in the belly member 11 of the sound box 10 are bisected by the aforesaid imaginary plane to dispose equal portions thereof in the upper and lower bouts 15, 16 respectively. From FIGURE 1, it will be seen that the upper bout 15 possesses a longer length and a shorter width than the lower bout 16. Under such dimensional conditions, the upper bout 15 requires a faster tone travel than the lower bout 16 which is more responsive to vibrations and has a slower tone travel.

To complete the assembly of the violin sound box 10, a cylindrical sound post or dowel pin 20 extends transversely between the belly member 11 and the back member 12, the sound post 20 being located below the right foot R of the bridge 14 in the lower bout 16. Although referred to conventionally as a sound post, the pin 20 is not actually a conductor of sound but causes the belly member 11 and back member 12 to vibrate in unison while additionally providing a reinforcing support to prevent the collapse of the belly member 11 and back member 12 upon subjecting the sound box 10 of the violin to pressure from the tensioned strings (not shown). A bass bar or sound bar 21 in the form of a solid elongated beam extends lengthwise of the sound box 10 for the violin, being confined within the sound box 10. The upper surface 22 of the bass bar 21 is flat and conforms with the internal surface of the belly member 11 to which it is attached throughout the length of the bass bar 21 by a suitable adhesive the upper surface 22 being illustrated as having a gentle curvature. The bass bar 21 not only serves as a reinforcing support for the belly member 11, but additionally provides an important function in determining the tonal qualities of the stringed musical instrument. In the latter connection, it is imperative that the bass bar 21 be carefully secured throughout its length to the belly member 11 for presenting a solid elongated beam producing continual control of tone flow.

From FIGURE 1, it will be observed that the transverse thickness of the bass bar 21 progressively increases gradually from its upper to its lower end. Thus, as illustrated in FIGURE 3, the transverse thickness shown by the arrows A is smaller than that shown by the arrows B. In contrast to the substantially flat appearance of the upper surface 22, the lower surface 23 of the bass bar 21 is rounded off smooth. A pair of oppositely disposed downwardly tapered side surfaces 24 connect the upper and lower surfaces 22, 23 of the bass bar 21 respectively to define a substantially triangular transverse cross-section. Intermediate the ends of the bass bar 21, there is provided a convexly curved protuberance, hump or arch 25 forming a region of increased thickness in depth along the longitudinal extent of the bass bar 21. As is shown in FIGURES l and 5, the bass bar 21 is offset from the longitudinal center-line of the sound box and extends directly beneath the left foot L of the bridge 14. In this connection, the convex protuberance 25 is located on the portion of the bass bar 21 disposed beneath the left foot L of the bridge 14. The greater portion of the convex protuberance 25 is disposed in the lower bout 16, while a lesser amount extends into the upper bout 15.

As best shown in FIGURE 4, the convex protuberance 25 is merged smoothly into the bass bar 21, there being a gradual increase of thickness in depth of the bass bar 21 from each end thereof toward the medially located convex protuberance 25 which abruptly increases the thickness in depth of the bass bar 21 to a marked degree. The convex protuberance 25 is offset from the center of the bass bar 21, thereby causing a greater length of the bass bar 21 to be disposed in the upper bout as compared to the lower bout 16 since the convex protuberance is always located beneath the left foot L of the bridge 14. Thus, as illustrated in FIGURE 1, the length of the bass bar portion indicated by the arrows C is greater than the length indicated by the arrows D. The bass bar 21 isdisposed throughout its longitudinal extent directly beneath the bass string (not shown) of the stringed musical instrument. It will therefore be noted that the bass bar 21 is fixed in a position locating the bass bar 21 at a gradually increasing distance from the longitudinal center-line of the sound box 10, as measured from the end of the bass bar 21 in the upper bout 15 and proceeding toward the end of the bass bar 21 in the lower bout 16. Thus, as illustrated in FIGURE 1, the distance indicated by the arrows E is smaller than the distance indicated by the arrows F.

To further explain the precise dimensional relationship between the components of the sound box 10, an imaginary circle X may be drawn in FIGURE 1 so as to form a circumference on which the centers of the left and right feet L, R of bridge 14, the longitudinal center-line of bass bar 21, and a point on the circumference of the cylindrical sound post 20 all lie, the imaginary circle X being bisected by the bridge 14 in a transverse direction and being also bisected by the longitudinal center-line of the sound box 10.

When the violin is played by drawing a bow across the strings thereof in the usual manner, vibrations from the strings are imparted to the bridge 14 whose right foot R is sustained in a state of almost perfect rest by virtue of the sound post 20 being positioned therebehind, while the left foot L transmits vibrations from the bridge 14 to the bass bar 21 through the belly member 11. Thereafter, the vibrations travel through the interior of the sound box 10 before being emitted as a single undistorted tone through the sound holes 17.

The shape and disposition of the convex protuberance 25 on the bass bar 21 are of critical importance to establish the desired vibratory movement throughout the violin, and cause the tones traveling from the front and rear of the sound box 10 in the upper and lower bouts 15, 16 respectively to meet simultaneously at the scroll-like sound holes 17 for merger as they pass therethrough to produce a single undistorted tone.

The improved bass bar 21 when placed in a stringed musical instrument of the viol class adds to the volume and force of expression of the instrument, while quickening its responsiveness and producing smoother tonal qualities. In contrast to bass bars of conventional design, the improved bass bar 21 embodying the present invention overcomes a tendency for the tones of a violin in its upper range to collapse under forceful playing required by the present-day vogue of large orchestrations utilizing increasing numbers of Woodwinds and brasses. It should be distinctly understood that the present improved bass bar 21 is susceptible of use with members of the viol class other than violins, such as violas and cellos.

In the drawings and specification there has been set forth a preferred embodiment of the invention, and although specific terms are employed, they are used in a generic and descriptive sense only and not for purposes of limitation, the scope of the invention being defined in the claims.

I claim:

1. A bass bar for a stringed musical instrument of the viol type, said bass bar comprising a solid elongated beam having an upper surface adapted to conform to the internal surface of the belly member for a stringed musical instrument to which said bass bar is to be attached, said beam having a gradual increase in transverse width throughout its longitudinal extent, and a protuberance on said beam forming a convex arch depending therefrom intermediate the ends of said beam, said protuberance being located closer to one end of the beam than the other end.

2. A bass bar for a stringed musical instrument of the viol type, said bass bar comprising a solid elongated beam having an upper surface adapted to conform to the internal surface of the belly member for a stringed musical instrument to which said bass bar is to be attached, a lower rounded surface, and downwardly tapered side surfaces interconnecting said upper and lower surfaces, said beam having a gradual increase in transverse width throughout its longitudinal extent and being provided with a substantially triangular transverse cross-section, and a protuberance on said beam forming a convex arch depending therefrom intermediate the ends of said beam, said protuberance being located closer to one end of the beam than the other end.

3. A bass bar for a stringed musical instrument of the viol type, said bass bar comprising a solid elongated beam having an upper surface adapted to conform to the internal surface of the belly member for a stringed musical instrument to which said bass bar is to be attached, a lower rounded surface, and downwardly tapered side surfaces interconnecting said upper and lower surfaces, said beam having a gradual increase in transverse width throughout its longitudinal extent and being provided with a substantially triangular transverse cross-section, a prm tuberance on said beam forming a convex arch depending therefrom intermediate the ends of said beam, said protuberance providing a region of increased thickness in depth on said beam and being located closer to one end of the beam than the other end, and portions of said beam on opposite sides of said protuberance being formed with a gradually increasing thickness in depth extending from each of said beam ends toward said protuberance.

4. In a stringed musical instrument of the viol type having a sound box comprising a belly member, a back member and an interconnecting side wall, a bridge provided with spaced left and right feet mounted on the exterior of said belly member, said bridge lying in a transverse plane forming the dividing line between an upper bout and a lower bout of said sound box, and a sound post positioned below the right foot of said bridge in said lower bout and extending between said belly member and said back member; the combination therewith of a bass bar, said bass bar comprising a solid elongated beam extending longitudinally of said sound box in uninterrupted contact with the internal surface of said belly member throughout the length of said beam, said beam having a gradual incerase in transverse Width throughout its longitudinal extent measuring from end to end, and the greater length of said beam lying in said upper bout, said beam passing directly beneath the left foot of said bridge, a protuberance on said beam forming a convex arch providing a region of increased thickness in depth on said beam, said protuberance being located on the beam portion beneath the left foot of said bridge and projecting downwardly away from said belly member, and the greater mass of said protuberance being disposed in the lower bout.

5..In a stringed musical instrument of the Viol type having a sound box comprising a belly member, a back member and an interconnecting side wall, a bridge provided with spaced left and right feet mounted on the exterior of said belly member, said bridge lying in a transverse plane forming the dividing line beink an upper bout and a lower bout of said sound box, and a sound post positioned below the right foot of said bridge in said lower bout and extending between said belly member and said back member; the combination therewith of a bass bar, said bass bar comprising a solid elongated beam extending longitudinally of said sound box and having an upper surface in uninterrupted contact with the internal surface of said belly member throughout the length of said beam, said beam having a lower rounded surf-ace, and downwardly tapered side surfaces interconnecting said upper and lower surfaces, said beam having a gradual increase in transverse width throughout its longitudinal extent measuring from end to end and being provided with a substantially triangular transverse cross-section, the greater length of said beam lying in said upper bout, said beam passing directly beneath the left foot of said bridge, a protuberance on said beam forming a convex arch providing a region of increased thickness in depth on said beam, portions of said beam on opposite sides of said protuberance being formed with a gradually increasing thickness in depth extending from each of said beam ends toward said protuberance, said protuberance being located on the beam portion beneath the left foot of said bridge and projecting downwardly away from said belly membet, the greater mass of said protuberance being disposed in the lower bout, and the distance between said beam and the longitudinal center-line of said sound box gradually increasing in size, measuring from end to end along said beam.

References Cited in the file of this patent UNITED STATES PATENTS 1,941,595 Burdick Ian. 2, 1934 2,068,078 Samuelson Jan. 19, 1937 FOREIGN PATENTS 3,665 Great Britain 1908 91,835 Austria Mar. 26, 1923 646,995 Great Britain Dec. 6, Q

UNITED STATES PATENT OFFICE CERTIFICATION OF CORRECTION Patent Noi '3gfll4 394 December 26 1961 Adam Szymanski It is hereby certified that error appears in the above numbered patent requiring correction and that the said Letters Patent should read as corrected below.

Column 5, line 13 for "incerase" read increase line 29 for "beink." read between- Signed and sealed this 24th day'of April 1962.,

(SEAL) Attestz- ESTON G-. JOHNSON DAVID Lg"; LADD Attesting Officer Commissioner of Patents UNITED STATES PATENT OFFICE CERTIFICATION OF CORRECTION Patent No; 35014,,394 December 26- 1961 Adam Sz ymanski It is hereby certified that error appears in the above numbered patent requiring correction and that the said Letters Patent should read as oorrected'below.

Column 5 line 13 for "incerase" read increase line 29,, for "beink" read between Signed and sealed this 24th day'of April 1962.,

(SEAL) Attest:

ESTON GL. JOHNSON DAVID Le. LADD Attesting Officer Commissioner of Patents 

